NORWAY Breathe THEATRE
By Pablo Gorlero
OSLO .- The alcohol is expensive in Norway: beverage taxes are too high. But there are other ways of getting drunk. Culture, for example. There are bars of jazz and rock and roll by where they locate. And with just stepping on the plaza in front of Parliament, you feel trapped by voices lyrics that meet not dozens, but hundreds of people. Is that from last Friday until 19 this month, Oslo tuxedo dress to receive her Festival Opera. A few blocks away, countless art galleries come together, while the great Vigeland monitors from the green heart of the city, with its sculptures become the heritage of humanity. But what happens cultural madness just for the music or the arts? Just make a few blocks down the pompous Karl Johans Gate to run into a building that any theater lover can feel throbbing. Very strong. It is the Norwegian National Theatre (National Theatre), with the bronze monument of the great Henrik Ibsen as eternal custody. Beyond, two blocks away is the house where he lived in his later years. The rooms where John Gabriel Borkman conceived (1896) and Al We Dead Awaken (1899). Norwegians And there is a museum honoring him as beautiful as illustrated, so exciting and educational. Although his greatest works were written in exile and more than once but has been critical of his homeland, love and honor the genius. Enough to make every two years, the Ibsen Festival, within the walls of the beautiful National Theater.
All big government ...
Norway's embassy in Argentina elected to the nation as one means to cover such a cultural event. There was an extra reason: an excellent work and all major governments have avoided intimate theater, headed by a director uppercase, Daniel Veronese, with a cast that gives pride: Claudio Da Passano, Silvina Sabater, Elvira Onetto, Marcelo Subiotto and Osmar Núñez. While the day when this reporter arrived at the kind Oslo, two blocks spotted the flag of Argentina, together with the Norwegian, in front of the National Theatre, as fraternal signal that a work of that nationality was represented there.
The Ibsen Festival celebrates its twentieth anniversary happy with a handful of foreign works, based on the playwright's classics, and the most prominent local responses also inspired by his work. "In recent years, I realized I had a special interest in young artists rediscover Ibsen. They found a renewed sense to his work," says Hanne Tomte, artistic and general director of the National Theatre. Ibsen's plays has the dust of history, but through the playwrights, the dedicated work of the actors and the sharp direction, the work of our author has been continuously reinterpreted it to remain relevant throughout the twentieth century and the beginning of the XXI ". The festival began on August 26 and continue until next Friday, both at the National Theatre as in other venues around town.
be opened with Ibsen Machine, a local work, no doubt, is one of the stars of the event and will remain until the last day. The playwright Sebastian Hartmann created a work in which his character is Osvald of spectra, which interacts with various other creative creatures Norwegian writer.
For its part, the French director Laurent presented his version Chétouane Dollhouse, with a cast Norwegian. German actor Josef Bierbichler, now internationally known for his work in the acclaimed film The White Ribbon (Michael Haneke), reached Oslo to star in a remake of John Gabriel Borkman . "A new chapter in the history of European theater," said Le Monde Schaubühne on this assembly, by Thomas Ostermeier. The cast also participated Angela Winkler, winner of the Ibsen Year 2006 for his work on characters from the author.
For its part, the craft Chorus Repertory Theatre, Ratan Thiyam Indian director, presented an acclaimed version of The awakening of our dead, with special effects, visual gimmicks and a chorus of singers. Buenos Aires accent
Last Thursday, at 19.30, a row enthusiastic, with audiences of all ages, rushed to the back door of the National Theatre. It is there, behind the main stage in the back rooms, the decor is minimalist mounted All governments have avoided intimate theater, designed by Daniel Veronese which was based on Hedda Gabler, Ibsen. There, the new audience assembled by the production eventually filled (sold to the last entry) to receive with approval, laughter and surprise proposal from Argentina. It is certainly one of the jewels of the current independent theater and Europeans who know so thoroughly the work of Ibsen, capture the detail and celebrate each performance to not allowing players to withdraw after three Greetings. And a room full of standing, of course. In the following function the same. "It's fantastic and, with humor, emotion and a certain detachment not leave the drama of" Hedda Gabler "he told this reporter a local photographer. Pride.
day before yesterday was presented to represent the cast Greek The Lady From the Sea , in the main hall of the National Theatre. Ever since the Foye r, one breathes the voices and the costumes that, for hundreds of years, passed through that stage. Huge spiders, rococo ceilings and boxes with caryatids seem to caress his viewers are the ideal place to get drunk on theater, from the beginning.
The cast, directed by Eirik Stube, one of the "rebel children" of contemporary European theater, moved the Norwegian public outpouring, which applauded endlessly. The director was working on his list of leading figures of the Greek stage in a huge empty stage, without minimal props and no scenery. There by themselves, as in a vacuum, expressionistic realism became a proposal coral and intimate at once, where the action seems to be forbidden, but the feeling is the essence.
remain a few proposals, as well as local, one China and one Swedish. But it is a marathon of works. The Ibsen Festival is not compulsive. Not one of those events that should be running from one theater to another. It is methodical, neat and careful. As Norway.
Ibsen on his land
The last weeks of summer and pat Nordic Norwegian capital with a friendly atmosphere, with sun and clouds vying for dominance of the sky and some wind that warns of what's next. They go quiet, as always, flooding the streets night and day, bare-chested as the maximum 18 degrees were 25. Moreover, with three cultural festivals in a week. Once the Opera, just started the Festival of Contemporary Music Trends Ultima, which we review the entire Scandinavian art in music and dance.
But the nation is in Norway, with its embassy in Argentina, to follow the footsteps of the twentieth Ibsen Festival, theater. Still hear echoes of the presence of All major governments have avoided intimate theater, the version that made Daniel Veronese Hedda Gabler. "Without doubt, the best I've seen in these two weeks," said the renowned director Kamaluddin Nilu. Something similar, said the Cuban theater critic Yohayna Hernández.
In recent days, the National Theatre his flag only shared with those of China and Sweden, as the other proposals were local. Exceptions, the trend is pointing to assemblies ascetic, static and a deliberate distancing. As the assembly local Doll House, directed by Frenchman Laurent Chétouane, pointing to the representation of representation and all that composes it. Since its scenery, consisting of wooden structures that could potentially become a utility, it generated a skeleton, whose extreme cold may remove you nuances. The performers travel the scenic area on a permanent basis as they wait their turn to go onstage, so that the viewer does not forget that this is not true, the protagonist (a cross between Nora and Antigone) acts his character in an almost monotone, from one by one the pages of your script and without leaving your armchair, while some other interrelate in turn. Farther
National Theatre, to the bohemian district of Grünerløkka, is the small theater Torshov (also official). In this room almost alternative, marvelous facade, is accessed by a staircase leading to a stage in a semicircle, with a floor of black pebbles. At a higher level, an actor recites texts about parenthood, with voice amplified. Then the rest of the large cast will break and a long arm articulated and collapsible table across the stage, imposes a limit, strong. So begins the Norwegian proposal Father, August Strindbeg neighbor, the only work that does not belong to Ibsen's drama at the Festival. Director Victoria H. Meirik led his actors to the edge of his emotions, with a thorough understanding. In turn, imposed to mount a major scenic force and dramatic, from a virtuoso cast, which is worth mentioning the names of its two protagonists: Henrik Sæther Mesta and Andrina.
father at the National Theater, presented this beautiful metaphor that is The Master Builder ( The Master Builder), Ibsen, by Lin Zhaohua, a leading figure of the China scene. It involves popular actors of that country, but in a also mounting with few actions to such a scenario. Inevitably, the drama walks far ahead of the interpreter. Anyway, putting Zhaohua imposed aesthetic and musical brushstrokes exact prices, as for the viewer to leave the courtroom with a lump in my throat.
The Master Builder
Deconstruction Ibsen 1: Spectrum
But without doubt, one of the best proposals in this Norwegian festival is celebrated Ibsen Deconstruction 1: Spectrum . In the lower stage of this great theater, a Swedish duo of excellent actors: Rafael Pettersson and Nils Dernevik, gave a master class in action with the fantastic version made Jörgen Dahlqvist spectra. The playwright took two of the characters in the play, one male and one female, and "deconstructed" the piece, but to dig deeper into the meaning of his plot. The feminine and masculine is embodied in the two creatures, not only through her wardrobe and makeup, but in the subtle yet intense performance. Director Linda Ritzen actors took paths through which his creatures find (or try to) what is the reason for its present and its destiny. Not only will love and fight at the same time between them, but will dive into the deepest pits of their lives, to reconnect, get away and re-found. At times they will drown, others may return to the surface. In times of peace, sometimes in madness. Even through repetition. And while, the public will look at him, and held accountable. Impossible not shaken out of this impressive work.
After the great Norwegian playwright Jon Fosse received the Ibsen Festival Award 2010 (which is nothing less than 300 000 euros), the festival culminated in his stars: the Norwegian Ibsen Machine, a craft of two hours where Sebastian Hartmann playwright toyed with different characters from Ibsen to make them interact in a sophisticated and well crazy interpreted.
On the evening of Friday, the street lighting was the figure of the monument to Ibsen hugely grows on one wall of the National Theatre. It was the perfect image to close an unforgettable holiday, at home.
Ibsen Machine Great National Theatre
OSLO .- The National Theatre of Norway, with its monument to Ibsen as imposing custody, is an architectural gem opened in 1899 (only time stepped playwright that room). Inside it is impossible not to look crazy, both for its architecture and design as for your organization. With frescoed ceilings of the room, in the foyeur and other sectors, has a baroque style that embellishes it. At the, time, and countless walls marching pictures of actors, directors and playwrights who passed through its stages, and inside, the boxes have unique caryatids.
On October 9, 1980, a spotlight fell on the stage in full swing, a full house when he represented The Kingfisher. The fire engulfed the scene immediately, but fortunately no casualties and the fire did not spread beyond the proscenium. Its capacity is 780 people or so, although the stage area, as a whole, is much larger than the audience, and has access to the back street.
It has everything theater should be official, since a large budget that the Ministry of Culture intended to make large and small productions and comfort for visitors and employees. 20 percent of your earnings from ticket sales, while the remaining 80 from the national state.
This cultural institution loved by Norwegians produce between 12 and 16 productions a year, which was officially reported in January and August. The permanence of which is in accordance with public acceptance, while taking into account the number of people in Oslo, the rate at which the works are on the bill is about 30 functions.
The Amphitheatre is the middle room, which opened in 1963, and amended successively in 1980 and 1999, the year he was the "enlarged" to accommodate about 210 spectators. Meanwhile, the smallest room is The Paintshop, with capacity for 65 people.
is striking how, before entering the room, viewers can leave their coats in a row of racks without, at the start, nobody would get anything wrong. In turn, the intermission is almost a ceremony, where people go to the bar foyeur or first-floor bar for a drink before the start of the second act.
A curious fact: there are no costumes or scenery workshops at the theater. They are in another building, outside of the city. But have a huge truck itself dealing with transfers.
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